Tierra sin hombres

A good deal made me want to see 'Until They Sail'. A fine director in Robert Wise, who directed two of my favourite films ('West Side Story' and 'The Sound of Music', is that going to be a popular opinion here?), a cast full of great actors (Paul Newman, Jean Simmons, Joan Fontaine), some interesting themes, my love for classic film and an equally interesting idea for a story.

While it was not mind-blowing or perfect, neither will it be one of my favourites any time soon, 'Until They Sail' was still a well done film with many great things, that had emotional impact, was brave in how it portrayed its themes, made the most out of its story and far from wasted its talent. Not the best work of all involved but all come off well. More one of those appreciated it rather than loved it ones.

'Until They Sail' is a little overwrought at times as could have done with a little less talk.

Also found the outcome of the Piper Laurie and Wally Cassell subplot forced and a jarring note in a film that otherwise was anything but. The odd pacing lull here and there, but a vast majority of the time the pace is measured but seldom dull.

However, there is nothing to fault the cast. Fontaine and Simmons give sensitive, deeply felt performances and Newman's is one of his better ones of his early career, comfortable and intensely cool. Piper Laurie's accent may stick out somewhat but her acting is committed and rich in emotion, while Sandra Dee is more than credible. Wise directs superbly.

Visually, 'Until They Sail' is beautifully and cleverly shot with some striking and vivid locations. The script is thought-provoking and remarkably daring in its sophistication-filled and not over-serious handling of themes seldom explored in film at this point, giving it much humanity. The story is mostly sympathetic and poignant, avoiding getting too over the top in melodrama, not easy to do with the subject and topics explored. The characters are realistically written.

In conclusion, well done and interesting, with few stumbling blocks and many great things. 7/10 Bethany Cox

This movie is wonderful. It's romantic, truthful and perfectly cast. It shows how lonely women can be without the love of a man in their life, and how wounds take so long to heal, and how easily they can be made. Jean Simmons is beautiful and sensitive in her portrayal of a New Zealand lass trying to remain decent and understanding emotional pain and restriction in a time of war. Paul Newman is positively gorgeous and plays his role as a cynical soldier so well i could seriously believe him really being one. The ending of the movie, although somewhat predictable, is lovely and suitable. I recommend this film to all lovers of Jean Simmons, Paul Newman and the classically romantic dramas of the 50's.

Until They Sail (1957)

In some ways this is a terrific movie about women at home as their soldier men fought in World War II. The setting is New Zealand, and the women are four sisters there. The men are mostly American soldiers, seen not as invaders but still as aliens who are not quite welcome, The filming in wide screen (Cinemascope, really wide) black and white is fabulous. And the acting, including key roles by Paul Newman and Jean Simmons, is great.

There isn't a stick of actual fighting here, if you want that kind of movie. Instead it's an interwoven tale of women trying to survive lost husbands in the war, and finding love, or not, in the mixed up world of war time New Zealand.

It's an interesting cast, with three women and one man (Paul Newman) as the top four billings. And a story by James Michener, with photography by Joseph Ruttenberg. Sounds like a winner, especially as the director (with MGM) was the soon to be legendary Robert Wise.

The scene is New Zealand during WWII. And it has to be added that Joan Fontaine and Jean Simmons are both first rate actresses (and Sandra Dee is getting a breakout role), all playing young women left behind by the men called to war. It's filmed in a kind of somber, clear-eye black and white, very emphatic and straight forward. It's what Paul Newman insisted was a "woman's picture," and in fact it really is about the four sisters and their varying interests in men.

Jean Simmons shines far more than the famed Joan Fontaine, and she is the counterpart for Paul Newman, who is the point man for the American presence (and the introduction to American men). The writing is a bit stiff and the editing sometimes slow, as if the nuances of fairly mundane reactions and intentions are worth lingering over. They aren't, not always. If you make it beyond the long long establishing scenes, you'll eventually get sucked in. I'm a huge fan of Simmons, who seems undeniable in any role and not just for some kind of cover girl beaiuty, and so I loved her scenes, which are numerous.

And yet, even if this movie seems to follow some ordinary romantic path, you can't help but feel, individually, for the four women wanting to not be alone. (It has some echo of "Little Women," to me.) That's the reason to hang in there. It takes time to get invested in the characters and their needs. Paul Newman is very good as usual, but more restrained than you might expect. Handsome, but without some kind of edge that made him bigger than life.

This strikes me as a drama, not a war film but about a human problem that happens to have some soldiers in it. It's not all great stuff-some of the writing is filler, or a bit dumbed down-but the best of it is felt and honest, and it's all seen (filmed) with classic beauty. The interwoven series of relationships with several women and several men has a weird echo of the earlier "The Best Years of Their Lives," and that's a good thing (and Ruttenberg holds his own against Gregg Toland in that parallel). In fact, the photography in black and white Cinemascope (anamorphic wide screen) is really special, for those who notice such things.

This is pure Hollywood, shot on an MGM lot (and studio). But it does to show how the "old" method worked so well. So, I loved this more than many of you will because of it's moviemaking aspects. It will get patient at times, but we all have to make time sometimes. As these women learned, too, without any choice.

War starts, the New Zealand men go off to fight, and four sisters are left to cope with that- and the arrival of the American fleet! It sounds like a recipe for the most hackneyed sort of wartime romance weepie, but this film is certainly not that.

First, this is an ensemble movie, where no one 'star' dominates. From Paul Newman (probably the best-remembered name now) on, we are given a whole clutch of accomplished and finely nuanced performances.

The cinematography is superbly judged: this is one of those lovingly observed pictures where a shot of 'two people talking' is rarely just that; the backgrounds and choice of shots are a delight. This must be viewed in the original format, not 'scanned'!

The script is intelligent and daring. Sexual topics such as promiscuity and having children outside marriage are dealt with in a surprisingly straightforward and sophisticated manner for a 1950s movie. And, it must be said, they are dealt with in a human and sympathetic fashion. There is no hint of the lurid sensationalism nor of the tight-arsed repressiveness that films of this era often display when dealing with such subject matter.

In a situation where the old well-patterned expectations have gone by the board, the sisters attempt to keep track of their universe with a wall-map of the world on which they plot where their men are now. The scope of this exercise is enlarged to include the dead, and then American 'friends'. Ultimately, the map is screwed up and thrown on the fire as the old world- including the old moral universe- goes up in smoke.

The only jarring note is the plot device allowing the film to open and close with a murder trial. One of the sisters has married a 'local'- clearly marked as unsuitable by his working class tones and chest hair! The relationship ends in worse than tears. This element of the film has all the sophistication of an Enid Blyton 'Famous Five' childrens book, and sits uneasily in such an- otherwise- intelligent performance!

I have to admit, when I first heard of this film, I didn't think it would keep my interest or attention. The casting, albeit comprised of talented performers, seemed a little odd: 40 year old Fontaine and 13 year old Sandra Dee as sisters sounds a little far fetched, but the pairing actually plays out believably on screen. The age difference translates into a believable mother/daughter type of sisterly relationship, which is appropriate since Fontaine's character has been left to tend to her three sisters after her parents' death.

Preconceived notions aside, the story is a compelling one, centering around four sisters in WWII New Zealand. Fontaine, Dee, Jean Simmons, and Piper Laurie all turn in admirable performances as the Lesley sisters in a plot that can sometimes seem a little implausible, or at the very least, ahead of it's time. Paul Newman also co-stars as a Marine officer who plays a pivotal role in the lives of the sisters, namely Simmons' character.

Not the best role of any of the principal actors' careers, but definitely worth seeing, especially if you are drawn to WWII era dramas.